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Qatari poet Suad Al-Kuwari holds a bachelor’s degree from Qatar University and works as a cultural advisor at the Ministry of Culture in Qatar. She writes both classical and vernacular poetry.

Her first attempt at writing poetry was during her university years, where her early works took shape.

(Asf News) met with poet Al-Kuwari and the following is an excerpt from their interview:

• Every poet has a childhood filled with love and passion. What was your childhood like, and when did you begin writing poetry?

She answered: My childhood was very ordinary, in a family that didn’t directly prioritize culture, but rather education. The family was keen on ensuring that all its members had a high level of education, and this instilled in me a love of reading from a young age. However, the form of writing I was drawn to wasn’t clear; I exercised my right to express myself in simple, vague ways. Then came university, and my interest and desire to continue in the literary field led me to study Arabic language and literature. My subsequent work in the cultural sector motivated me to continue and dedicate myself to cultural work out of genuine passion and love for the field.

• What did Suad Al-Kuwari rely on in her poetic vocabulary, given that most poets focus on themes of distance and longing in their poems?

• *She answered: I relied on my cultural background, a blend of my love for world literature and the cultures of other peoples, combined with my local culture. This created a harmonious mix in my literary works, especially in my five poetry collections written in classical Arabic. Readers can clearly sense the intermingling and blending of cultures through the vocabulary I used.

I also drew upon my personal experiences when addressing various topics, which gave me a unique style. Perhaps the cultural scene in my city at the time didn’t readily accept it, but it later became a distinctive feature of my writing.

•Who supported you, family or friends?

*She answered: Of course, my family, especially the small family I built with my husband. He was my primary support in continuing my journey. My friends also shared my love for cultural work, and their support was the cornerstone upon which I later built my literary empire.

•Why did you fall in love with writing poetry?

She answered: “My poetry was born from the various life experiences I’ve had and lived through. I was influenced by those who came into my life, but what truly guided and supported me was a large group of followers and critics, including my teachers at school and university. Later, my family and my work environment played a significant role. I managed a cultural salon for a long time, which helped me gain experience and knowledge from the salon’s patrons. Their support and feedback were instrumental in my continued success.”

•How many poetry collections have you published?

*She answered: I have published several works:

1- My Soul Was Not (2000) Classical Arabic Poetry

2- Heir of the Desert (2001) Classical Arabic Poetry

3- In Search of Life (2001) Classical Arabic Poetry

4- A New Door to Enter (2001) Classical Arabic Poetry

5- Queen of the Mountains (2004) Classical Arabic Poetry

6- Complete Poetic Works 2022

National Spoken Poetry:

1- Qatar Is Different (Lyric National Poetry)

•Have you had an experience that influenced you poetically?

*She answered: Yes, there are many life experiences that have influenced me both personally and creatively, resulting in this body of literary work. My experiences moving from one environment to another have enriched my writing with diverse psychological states. The rapid development witnessed in the Gulf countries, evident to all, has also contributed to a more positive life and empowered women to participate, assert their presence, and work alongside men in building society. All of this has significantly impacted my poetic experience.

•Have you participated in any local or international events?

*She answered: Yes, I have participated in many local and international events. These were wonderful opportunities to meet other poets and experience the direct interaction with the audience, something we greatly miss now that these festivals have disappeared or participation has diminished with the rise of social media and the transformation of communication. Now everyone has their own channel. Communication has become more difficult; there is no longer a central platform for us to gather around. Instead, each artist has their own platform, and the audience has to seek out the artist. While this development is positive, it requires considerable effort to reach and establish oneself.

Her participations included:

The Doha Cultural Festival (2002),

The Al-Khansa Festival in the Sultanate of Oman (2002),

The Gulf Cultural Month organized by the Emirates Writers Union in Sharjah and Abu Dhabi (2002),

The Al-Bajrawiya Festival in Sudan (2002),

The Spring of Poetry Festival in Paris organized by the Arab World Institute (2003),

Assigned as a jury member for the short story competition within the cultural activities plan (2002),

The Al-Mutanabbi Festival in Subsra (2004),

The Medellín Festival in Colombia (2005),

I was selected by the World Poetry Movement, based in Chile, as an ambassador for Arabic poetry representing the State of Qatar, among 18 Arab poets chosen as ambassadors for poetry representing their countries, out of a total of 3,500 poets from five continents.

• When did you begin writing songs, and what are your most important works in this field?

• She answered: I started writing songs in 2015.

Her most important works include:

– My testimony about you is biased, by artist Adel Ibrahim, 2015.

– My soul is sacrificed for you, by artist Aayel, 2015.

– It doesn’t matter, by artist Zainab Al-Abdullah, 2015.

– Finally, you’re being kind to me, by artist Nasser Suhaim, 2016.

– Hero, by artist Qusay Dawood, 2017.

– Believe me, by artist Lamia, 2017.

– First love, by artist Abbas Al-Amir, 2018.

– My family’s love, by artist Abbas Al-Amir, 2018.

– You’re on my mind, by artist Abbas Al-Amir, 2018.

– It takes a while, you see, by artist Mohammed Al-Haidous, 2018.

– I haven’t forgotten you, by artist Abbas Al-Amir, 2018.

– God is sufficient for me, by artist Diaa Al-Safeer, 2018. – They’ve changed, unfortunately. Artist Diaa Al-Safeer, 2018.

– On Heel, Artist Diaa Al-Safeer, 2018.

– My Eternal Love, Artists Abbas Al-Amir and Hanin Haddad, 2018.

– I Miss You Every Moment, Artist Abbas Al-Amir, 2019.

– You’re on My Mind, Artists Al-Amir and Basem Al-Aboud, 2019.

– You’re on My Mind, Artist Abbas Al-Amir.

– My Dream

“Al-Wardi” by artist Bader Al-Badiri, 2019.

“Mamnounak” by artist Abbas Al-Amir, 2020.

“Mo Aadatak” by artist Almas, 2020.

“Bil-Mathal” by artist Jawahir, 2020.

“Kullak Asal” by artist Laila Al-Kandari, 2020.

“Hey Shno” by artists Noura and Abbas Al-Amir, 2020.

“Ghammed Einak” by artist Abbas Al-Amir, 2021.

“Ummi” by artist Suad, 2021.

“Al-Hob Al-Qawi” by artist Abbas Al-Amir, 2021.

“Al-Jamal Hob” by artist Nasser Suhaim, 2021.

“Qanun Al-Hob” by artist Abbas Al-Amir, 2021.

“Malini Hob” by artists Abbas Al-Amir and Laith Abu Joudah, 2021.

“Athkur Sawtak” by artist Abbas Al-Amir, 2021.

“Shouraikum” by artist Mohammed Al-Hashemi, 2022. – My Angel, by artist Abbas Al-Amir, 2022.

– I Was With You, by artist Abbas Al-Amir, 2022.

As for national artistic works:

1- We Adore Your Land, Qatar, composed by Mishari Al-Awadhi, performed by the Kuwait Choir, 2018.

2- Long Live Qatar, House of Music, 2018.

3- God Is My Witness – Anwar, 2022.

• Who is your role model in poetry?

*She answered: In my early days, I was greatly influenced by translated poetry. The poet Tagore had the greatest impact, and the French poet Jacques Prévert also had a special place in my heart. Later, I was influenced by prose poets, especially those from the Arabian Gulf, such as Qasim Haddad, Saif Al-Rahbi, Dhubiya Khamis, and many others, as well as Mahmoud Darwish and Adonis. After that, I began reading songwriters like Abdul Latif Al-Bannai, Saher, Khalid Al-Faisal, and many more. Each poet I read influenced me indirectly and impacted my creative experience.

• Poetry has meters, as they say. Which meter did you choose?

• She answered: Indeed, in my early days, I was interested in the topic of meters, but I later moved beyond that because the writing style I use is very different from this restrictive style.

• Which poem introduced you to the public?

• She answered: My first collection of poems, “My Soul Was Not,” began to take shape, forming a continuous thread of experience that extends from “Heir of the Desert” and “Queen of the Mountains” to “The Search for Life.”

For me, experience is a continuous and interconnected journey.

• A final word to conclude our interview?

* She answered: Thank you so much for this opportunity to share a little of what resides within me. I hope my experience has reached those interested in the cultural scene, and that I can be one of those who have upheld integrity and remained dedicated to cultural work.

Poet Suad Al-Kuwari believes that poetry fosters cultural understanding between peoples and contributes to showcasing creativity. She embarked on her writing journey early, entering the publishing world in 2000, and her work has since been published in succession. She then focused on cultural activities before returning to compile her complete works into a single collection. She has participated in international poetry evenings and events, and the World Poetry Movement, founded by Colombian poet Fernando and headquartered in Colombia, previously nominated her as its poetry coordinator in Qatar. Here is the text of our interview with her:

What is the story behind your first poem? Was it printed or created?

I honestly don’t remember the first text, perhaps because I always write and consider every piece of writing to be my first. But if we’re going to consider the first text to be the first collection, then this is the experience I can truly call my first. It earned its place and the right to be published, becoming a reality I can neither ignore nor deny, even though I’ve ignored many previous experiences. But since it became a reality in my life, let’s say that the collection “It Wasn’t My Soul” is the first text that deserves recognition.

Who stood behind the female poet, supporting, motivating, and guiding her in a society that doesn’t tolerate dissent?

The rebellious female voice needs external support to persevere and resist all circumstances. However, with a husband who understands and appreciates such things, the difficulties diminish. He was always with me at every stage I went through, which enabled me to continue strongly despite everything I went through. He was supportive and endorsed everything I thought about. I owe him everything I have achieved.

Your writing possesses a unique, modern spirit unlike any other. Where did this spirit spring from?

From life itself, from the diverse readings I’ve encountered, from the belief that we are all different, each with our own distinct voice—a belief I’ve always insisted we must preserve. Many things have shaped this spirit.

Did your initial environment play a role in nurturing the seed of creativity, or kindling the embers of brilliance? And who was the mentor behind that first step?

Indeed, there were subtle influences I wasn’t aware of, but I sensed them from the very beginning. I felt something different, something provocatively intertwined with my life, and I always thought it was normal, so I didn’t give it any importance. I was exercising my right to life and searching for the self that resisted any form of challenge. It came in different forms until it finally settled on this form that has become inseparable from me, and I don’t know what to call it. Although I haven’t settled on other writing styles, at the end of the gamble, I’ve settled on this form that defies categorization, something somewhat strange yet familiar. The ember of creativity still glows despite the experiences and years that have passed, and at each stage there’s a different mentor. Perhaps they resemble each other in form but differ in content, but in the end, I still feel like I’m taking the first step.

Were you a shadow or an extension of fathers whose experiences were reflected in you?

Absolutely. I am an extension of many names that have shaped my creative taste since time immemorial, and I still feel their ghosts lurking everywhere. Sometimes I search for them, for I am a mixture of past and present experiences that I am still cautiously exploring.

The Omani poet Ibrahim Al-Hajri and the Qatari poet Suad Al-Kuwari wanted to make the evening hosted by the Emirates Writers Union and presented by the poet Al-Hanouf Mohammed a celebration of poetry and enthusiasm from the audience, who were asked to applaud more than once, but they were not enthusiastic, even though what the guests of the evening presented was beautiful and successful. Perhaps the audience wanted to relax to the poetry and the meaning. Throughout the evening, the two poets exchanged poems, beginning with Suad Al-Kuwari, who presented selections from her short poems: “The Decision,” “It’s Evening,” “Resurrection,” “The Peacock,” and “At the Door.” These poems, in general, delve into the depths of the relationship with place, people, and things, sometimes employing a dramatic narrative structure, and at other times utilizing concise poetic language and highlighting the power of meaning. Al-Kuwari’s poems, in their overall style, possess a tendency towards transparency and a distinctly feminine touch, evident in her choice of words and the atmosphere of her sentences. There is a hidden pain and open endings; she addresses the world, she addresses a specific individual, and she merges with language to imbue it with a latent vitality and spaces designed for escaping into the privacy of dreams and experiences. Over the years, Suad Al-Kuwari has published several poetry collections, including “Wrinkles” (1995), “Heir of the Desert,” and “A New Door for Entrance.” She has also participated in numerous Arab poetry festivals and gatherings. The poems of Ibrahim Al-Hajri possess a unique flavor, as he tends to base his texts on a range of cultural, historical, and even narcissistic dimensions. For him, poetry becomes a space for mythologizing the moment and indulging in the impossible. Al-Hajri writes poetry captivated by surprise, ultimately arriving at meanings akin to wisdom, yet he avoids excess, allowing the poem the freedom to embrace its own chaos and beautiful madness. He maintains the poem’s capacity to possess elements derived from the poet’s relationship with his surroundings and his daily engagement with both personal and collective pain. Al-Hajri has published his work in several newspapers and cultural periodicals, and his first poetry collection, “The Architecture of Water,” is forthcoming. Overall, it was a beautiful poetry evening, a space for two poetic voices with ample distinction, individuality, and the ability to produce poetry that makes no pretense of being truly poetic.